Digital facial engraving

This contribution introduces the basic techniques for digital facial engraving, which imitates traditional copperplate engraving. Inspired by traditional techniques, we first establish a set of basic rules thanks to which separate engraving layers are built on the top of the original photo. Separate layers are merged according to simple merging rules and according to range shift/scale masks specially introduced for this purpose. We illustrate the introduced technique by a set of black/white and color engravings, showing different features such as engraving-specific image enhancements, mixing different regular engraving lines with mezzotint, irregular perturbations of engraving lines etc. We introduce the notion of engraving style which comprises a set of separate engraving layers together with a set of associated range shift/scale masks. The engraving style helps to port the look and feel of one engraving to another. Once different libraries of pre-defined mappable engraving styles and an appropriate user interface are added to the basic system, producing a decent gravure starting from a simple digital photo will be a matter of seconds. The engraving technique described in this contribution opens new perspectives for digital art, adding unprecedented power and precision to the engraver's work

Distorted Norms: German Expressionist Prints and the Legacy of the Early German Masters

German Expressionism, one of the most influential art movements of the twentieth century, was the source of unprecedented experiments in printmaking. Although the works appear modern to our eyes, Expressionist printmakers drew heavily from the early history of printmaking, which emerged in northern Europe in the fifteenth and sixteenth centuries. The early history of the print included the development of the woodcut, the innovation of the printing press, and the invention of new printmaking techniques such as engraving and drypoint. The ways in which German Expressionists drew upon their heritage in printmaking is evident in three key ways: the revival of the woodcut, the distortion of the human figure, and social observation. Because German Expressionism embraced various styles and numerous artists, it has been challenging to clearly demonstrate how they looked back into the early German printmaking masters. However, the exhibition and catalogue for Distorted Norms: German Expressionist Prints and the Legacy of the Early German Masters reveals the visual connections between the two eras of printmaking and draws on two major strengths of UWM Art Collections

The Plains of Mars, European War Prints, 1500-1825

Over fifty original prints by renowned artists from the sixteenth through the early nineteenth century, including Albrecht Dürer, Lucas Cranach, Théodore Géricault, and Francisco de Goya, among many others, are featured inThe Plains of Mars: European War Prints, 1500-1825. On loan from the Sarah Campbell Blaffer Foundation at the Museum of Fine Arts, Houston, the works of art included in this exhibition examine the topics of war and peace, propaganda, heroism, brutal conflicts, and the harrowing aftermath of battle. Spanning from the Renaissance to the Romantic periods and encompassing a wide geographic scope including Italy, Germany, France, Spain, the Low Countries, England, and North America, the prints depict triumphant Renaissance soldiers, devastating scenes of violence, and satirical caricatures of political figures. Also on display is Goya’s compelling “Disasters of War” series, completed in response to the brutality of the Spanish War of Independence. Goya’s prints serve as a powerful testament to the horrors faced by both soldiers and civilians. Under the direction of Professor Felicia Else and Shannon Egan, Melissa Casale ‘19 and Bailey Harper ‘19 have researched and written didactic labels, catalogue essays, and created an interactive digital interface to complement the exhibition. Together, Melissa and Bailey will lead public tours of the exhibition. A Gallery Talk by Prof. Peter Carmichael will draw connections between the depictions of warfare on view in the Gallery with representations of the American Civil War. James Clifton, Director of the Sarah Campbell Blaffer Foundation at the Museum of Fine Arts, Houston, will be delivering a lecture in conjunction with the exhibition. Dr. Clifton, who also serves as curator of Renaissance and Baroque painting at MFAH, curated the exhibition in its first iteration and wrote the exhibition catalogue (published by Yale University Press). Dr. Clifton’s lecture not only will provide an overview of the exhibition, but also will focus on the concept of “mediated war.” A full-color catalogue with images and essays by Bailey Harper ’19 and Melissa Casale ’19, under the supervision of Profs. Felicia Else and Shannon Egan, is planned to accompany the exhibition.https://cupola.gettysburg.edu/artcatalogs/1028/thumbnail.jp

Speech Enabled Avatar from a Single Photograph

This paper presents a complete framework for creating speech-enabled 2D and 3D avatars from a single image of a person. Our approach uses a generic facial motion model which represents deformations of the prototype face during speech. We have developed an HMM-based facial animation algorithm which takes into account both lexical stress and coarticulation. This algorithm produces realistic animations of the prototype facial surface from either text or speech. The generic facial motion model is transformed to a novel face geometry using a set of corresponding points between the generic mesh and the novel face. In the case of a 2D avatar, a single photograph of the person is used as input. We manually select a small number of features on the photograph and these are used to deform the prototype surface. The deformed surface is then used to animate the photograph. In the case of a 3D avatar, we use a single stereo image of the person as input. The sparse geometry of the face is computed from this image and used to warp the prototype surface to obtain the complete 3D surface of the person's face. This surface is etched into a glass cube using sub-surface laser engraving (SSLE) technology. Synthesized facial animation videos are then projected onto the etched glass cube. Even though the etched surface is static, the projection of facial animation onto it results in a compelling experience for the viewer. We show several examples of 2D and 3D avatars that are driven by text and speech inputs

Genesis:The Creation and The Fall

Selections from the Susan Dunleavy Collection of Biblical Literature, September 26 - October 17, 1980https://digitalcommons.lasalle.edu/exhibition_catalogues/1023/thumbnail.jp